18 Songs, 31 Minutes

EDITORS’ NOTES

John Debney made his initial Hollywood reputation scoring comedies. Yet he’d garner an Academy Award nod for the magnificent oratorio score he crafted for The Passion of the Christ in 2004, then scored Sin City and became the youngest recipient of ASCAP's Henry Mancini Lifetime Achievement Award the next year. Here, Debney revisits his deft gift for humor in service of this comic misadventure from director Steven Brill and star Elizabeth Banks, an inspiration the composer credits with being “funny, charming, and nuanced. Playing comedy in a very bright yellow dress is not that easy for any actress, but Ms. Banks pulls it off.” The title music’s thrash edges soon give way to “a fun journey with tinges of the sounds of the street,” says Debney of his cues for the film, “an acoustic guitar–driven score, with some bluesy harmonica thrown in.” 

EDITORS’ NOTES

John Debney made his initial Hollywood reputation scoring comedies. Yet he’d garner an Academy Award nod for the magnificent oratorio score he crafted for The Passion of the Christ in 2004, then scored Sin City and became the youngest recipient of ASCAP's Henry Mancini Lifetime Achievement Award the next year. Here, Debney revisits his deft gift for humor in service of this comic misadventure from director Steven Brill and star Elizabeth Banks, an inspiration the composer credits with being “funny, charming, and nuanced. Playing comedy in a very bright yellow dress is not that easy for any actress, but Ms. Banks pulls it off.” The title music’s thrash edges soon give way to “a fun journey with tinges of the sounds of the street,” says Debney of his cues for the film, “an acoustic guitar–driven score, with some bluesy harmonica thrown in.” 

TITLE TIME

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